This article discusses the classification of Uzbek shamanic invocations based on their performance style, ritual context, and the communicative actions of the performer. It argues that a shamanic invocation should be understood not merely as a verbal text but as a syncretic folkloric phenomenon that is fully realized in the course of its performance. The study also examines the performance of shamanic invocations both with and without musical accompaniment and analyzes their functional and genre-specific characteristics.
| Mualliflar | Aralov , O‘tkir, Аралов , Уткир, Aralov , O‘tkir |
|---|---|
| Jurnal | Тамаддун нури |
| Nashr sanasi | 2026-07-30 |
| Jild | 7 |
| Son | 82 |
| Betlar | 62-64 |
| Til | O‘zbek |
| DOI | 10.69691/4tt2j170 |
DOI: 10.69691/4tt2j170 · Maqolaning asl sahifasi
shaman, invocation, performance, doira (frame drum), baxshi, kushnoch, шаман, призыв, исполнение, дойра, бахши, кушноч., shomon, chorlov, ijro, doira, baxshi, kushnoch.
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